Glen Grant 1970 DT Rare Auld
| Category | SINGLE MALT |
| Distillery | Glen Grant |
| Bottler | Duncan Taylor (DT) |
| Bottling Series | - |
| Vintage | 1970 |
| Bottled Year | 2007 |
| Age | 36년 |
| Cask Type | - |
| Cask Number | - |
| Bottles Released | - |
| ABV | 45.7% |
| Volume | 700 ml |
| Label | - |
| Country | Scotland |
| Region | Speyside |
Flavor Profile
Tasting Notes
Colour
gold
air Nose
exactly the opposite! The same kind of varnishy, woody notes actually but with less balance and less extravagance. Gets better with time, that is, with notes of earl grey tea, cut grass, herbal teas, mint… Faint soapiness, or is it something like fusel oil? Rubber? Also a little camphor, but it’s a very discreet oldie. With a few drops of water: not only it’s still very woody, but it got watery at roughly 45%, as if the spirit had vanished. Strange…
restaurant Palate
extremely woody and tannic, and it is not pleasant here. Hints of bubblegum and marshmallows but the tannins (of a very peppery sort) really dominate the spirit. With water: no-no
timer Finish
not long, dry, tea-ish. Drinkable but not really enjoyable. On the wane when it was bottled I think. 70 points. MUSIC – Recommended listening: in the mood for some true Cuban salsa in the good old Fania tradition? Oaky, let's listen to Estrella Acosta singing Camina y ven.mp3 then (I think that's the name of the song - not sure). Please buy her music... August 9, 2007 CONCERT REVIEW by Nick Morgan JAMES HUNTER AND HIS BAND The Jazz Café, Camden, London, August 1st 2007 Summer’s come to London – or to be more accurate London’s gone in search of the summer. The place feels deserted – empty early morning streets, desolate school playgrounds, spare seats on the trains. This seasonal exodus is the only reason I can think of to explain the fact that the Jazz Café is only about two thirds full for this first of two nights of the superb James Hunter and his band. Hunter’s album. ‘People Gonna Talk’, was one of the highlights of 2006, and it earned him a Grammy nomination for Best Blues Album. It also topped the Billboard charts in the US. It’s a brilliantly constructed piece of 1960s style R&B – think Sam Cooke and you wouldn’t be too far from the spot – recorded at Liam Watson’s Toe Rag Studios , which specialises in using analogue recording equipment (Watson also hosted the White Stripes for Elephant). The result for Hunter is perfect – too perfect for some, who accuse him of being a nostalgic imitator with little original talent. Not fair I would say – there’s a real contemporary verve about the record and the songs, all original compositions, are witty and pleasingly lyrical (“Strike me dead if I don’t love you, and I’d be damned if I do”). Hunter’s been around for years – he’s 43 so fame has taken some time to arrive, a reward for persistence. One of his former incarnations was as ‘Howling Wilf and the Veejays’, and he was also well known on the busking scene in London before the early nineties when he was taken under the wing of Van Morrison, with whom he performed fo
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